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Constant Lambert was born in London on August 23, 1905. His father, George Lambert – an Australian painter of Russian origin – and Amelia Beatrice Absell 1872-1963 were married in Australia on September 4, 1900. Two days after their wedding, the young couple embarked for London, thanks to the first artistic travel grant awarded to George by the Society of Artists of South Wales. They soon moved to Paris and George joined the Académie Colarossi.
Although the children did not have much contact with their father, both he and their mother, above all, instilled in them an appreciation for art and literature that bore fruit in their future artistic careers: Maurice became a renowned sculptor (also very gifted musically) and Constant a great composer with a great facility for writing, as he demonstrated in his musical criticism.
In June 1923, he attended a variety show by C.B. Cochran called “Dover Street to Dixie”, which had just opened at the London Pavillion.The second part, starring the colored singer and dancer Florence Mills with her group “The Blackbirds”, made a great impression on him. The show continued in London until September and Constant and Angus Morrison saw it together at least four times.
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Lambert would be one of the fundamental pillars that would help Pete Townshend change his musical strategy, encouraging him to produce more mature material. Lambert’s recommendation would eventually produce albums such as Tommy and Quadrophenia.
In 1980, Lambert and journalist John Lindsay began writing a book about his life, in which he would recount how he found The Who and other unpublished information about contemporaries such as The Beatles, The Rolling Stones, Jimi Hendrix and friends such as Princess Margaret and Liberace. At the same time that a contract for the publication of the book was being prepared, the official solicitor handling his court case made contact with the publishers, claiming the proceeds. On the day of his death he would be seen at a popular gay nightclub in London, known as El Sombrero.
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Sony 70-200mm f/2.8 G Master Lens: “A lens that I’ve loved and have used in so many different circumstances. It’s also the one I use when it’s snowing or raining, or when there are really tough conditions because of its resistance to those elements. “I have the 70-200mm on the bottom of my backpack. This lens is the heaviest piece of gear, and it suits me to carry the heaviest at the bottom, closest to my hips.”
Sony 16-35mm f/2.8 G Master: “When I don’t have much idea of what I’m going to capture, I use this lens. When I don’t know the location, this is a great lens to use. It works everywhere and is all-terrain. “I may use ND filters on this lens, depending on whether I’m using it with the Alpha 7S III for video or stills.” Sony 14mm f/1.8 G Master: “I really love this lens. At first I thought I wouldn’t know how to use it beyond architectural and city shots. But I fell in love with this 14mm f/1.8 GM. It allows me to capture at many different angles. We are used to certain types of framing, such as those that result from a 35mm, 24mm and even the 16-35mm, which are familiar classics. 14 mm gives me that extra range that can make everything very interesting.